3.5tons

01 / Local evidence

Field evidence gave the project a local starting point.

The team visited four locations in Zhangzhou Development Zone and documented rubbish around the coastline and South Taiwu Beach. We collected, sorted and recorded material found on site. Local reports added a memorable scale: a 2017 clean-up involving 400 people removed 3.5 tons of waste in one day. That figure became the project name.

We cleaned collected material and ran a small public making activity. People joined the activity and responded positively to useful, personalised products. The test also exposed a service gap: visitors needed clearer instructions, schedules and information at the point of participation.

Follow-up interviews and 213 questionnaires suggested that younger participants were interested in interactive environmental activity. Recruitment concentrated on local students, so we treated the findings as directional evidence for the next concept stage.

02 / Experience structure

A seven-day programme links clean-up, making, exchange and exhibition.

The proposed experience uses two connected locations. South Taiwu Beach hosts daily clean-up activity. Cadakas hosts the market, masterclasses, artist pop-up shops, rest areas and a growing exhibition of work made during the week.

Collected material moves through weighing, cleaning and preparation before it enters a workshop. Participants can take their work home or add it to the exhibition. A weight record links the clean-up to discounts at participating shops, giving the environmental action a visible place in the wider festival journey.

03 / My finance contribution

Finance tested whether the proposed programme had a workable shape.

As the finance contributor, I assembled a seven-day cost plan covering labour, site setup, travel, accommodation and meals. The first estimate totalled CNY 214,465: CNY 29,000 for labour, CNY 70,805 for site setup, and CNY 113,660 for travel, accommodation and meals.

I mapped potential income from partner fees, artist brand participation, artwork commission and masterclass tuition. A conservative scenario and a target scenario exposed how strongly the proposal depended on merchant participation, sales and class attendance.

These figures were planning assumptions. Quotes, permits, insurance, artist agreements, material processing and weather contingency still required verification. The model helped the team see which service decisions created financial risk and which partners carried operational responsibility.

04 / Visitor information

Programme information became part of the service.

The visitor journey crossed two locations and several activity types. The team organised beach clean-up hours, a sustainable market, exhibitions, pop-up shops and masterclasses into a single seven-day schedule.

The information system also covered shuttle access, equipment, tidal timing, water safety, workshop registration and personal belongings. These touchpoints show an early information hierarchy. A live version would need accessible language, current weather and tide updates, emergency contacts and a clear booking route.

05 / Connected touchpoints

The team carried one identity across place, staff and digital channels.

The team developed a location map, outdoor flags, entrance graphics, staff identification, clothing and a website concept. Teammates led the visual identity and interface work; my contribution remained centred on finance. I include these shared outputs because they show how the operating model could reach visitors at different stages of the journey.

Each touchpoint answers a practical need. The map supports orientation, staff assets make help visible, the schedule explains what is happening, and the website extends artist stories and sales beyond the event week. Together they give the proposal a more coherent service presence.

06 / Reflection and next test

The proposal is coherent on paper; one small pilot would make it credible.

This early project taught me that a festival is a temporary service system. Its value depends on transport, safety, material handling, staff roles, partner agreements, information and financial choices working together across a fixed period.

The evidence limits are clear. The survey sample leaned toward local students, the budget depended on estimated participation and partner fees, and the visual assets remained mockups. Material safety, permissions, waste ownership, weather response and measurable environmental value still need direct evidence.

I would now test a one-day version at one site with one artist, one material stream and a small participant group. The pilot would track registration, arrival, instruction, material handling, workshop flow, staff handovers, cost per participant and the amount of usable material recovered.